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hum smoothly to the demands of
modern vertical commerce. In the
high traffic areas, cream marble
graces hallway walls. Floors are
chicly dressed in terrazzo. The
lobby, finished in white Italian
marble, soars to a multi-colored,
coffered ceiling. The original
million-dollar investment would
not begin to cover the cost of
these precious materials today.
When the building was new
in 1920, a local news dispatch
reported some impressive num-
bers: 1,000 employees called it
their work home; 6,500 people
rode the elevators each day. The
building opened at 85 percent
rental occupancy despite gaunt
economic conditions. A staff of 46
maintenance employees labored
to keep it clean and functional.
According to current owner
Kert Huber, the iconic Commerce
Building is an essential historic
structure filling the contemporary
business needs of Peoria.
“Preservation and repurposing
of important buildings like this
satisfies a basic human need. This
building gives us a tie to those
who went before us. It’s a monu-
ment to the past, and should be
an inspiration to all Peorians,”
Huber said.
Huber was stimulated by
the challenge of restoring the
building to its former glory. He
installed a new electrical system,
plumbing lines and restrooms.
There’s an electronic entry sys-
tem, state-of-the-art fire alarm
system, expanded fire suppres-
sion system, smoke control in the
stairways, additional fire exits,
new solid-state elevator controls
and new heating and air condi-
tioning.
Rescuing historic buildings
has become a resolute mission
for Huber. He appreciates the
character and strength of older
buildings. Among those where he
has intervened are: the Judge Ja-
cob Gale House, circa 1838, which
now houses a law office; the old
Musicians’ Hall on Kumpf Boule-
vard, an 1856 structure reborn as
Busey Bank; Benassi and Benassi
Law Offices; the Apollo Theater;
and the Canton Opera House,
now metamorphosed into the
Opera House Professional Cen-
ter. Other projects carrying the
Huber touch are 401 Water, the
Central Building, River Station,
and Morton Professional Park.
The area of the Commerce
Building with perhaps the most
potent sensory impact is not
available to the general public.
Access to the tower room begins
at the 16th floor. Three tightly
wound metal spiral staircases
spin to the summit – two coun-
terclockwise and one clockwise
– past the mechanical apparatus
and “bones” of the building. The
ascent through this space is dark
and disorienting.
continued on page 12
But at the summit, where the
door opens to the balcony at the
The Past
11
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